DOCSLIB.ORG

Editorial Issue 88

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Editorial Issue 88 Editorial More than a decade has passed and, outside my own work, can since the initial publication of Sweet be counted on one hand. For and Savage (2006), my monograph example, the deeply problematic on the mondo film cycle.1 Despite nature of the gendered aspects of the odd article here and there, and the mondo film has been exam- Kerekes and Slater’s groundbreak- ined by Gaia Giuliani in relation ing 1994 book on death in filmKill - to the ‘white heterosexual gaze’ Editorial ing for Culture, this study was the and the ‘imaginary’ of the Ital- first solely devoted to the subject ian nation during the 1960s and of the mondo cycle and my hope the 1970s, the high point of both Issue 88 was that it would instigate a wider mondo filmmaking and, arguably, discussion about this most contro- Italian cinema (2018). Sweet and Savage: The versial of film genres. Meanwhile, Marie-Aude Fouéré mondo film and its In the introduction to the book, has taken a highly controversial legacy I made the point that while the scene from Gualtiero Jacopetti and mondo film was a disreputable, Franco Properi’s Africa addio (1966) obscure genre (or sub-genre of the as a starting point for investigat- By Mark Goodall, Guest Editor documentary film) its influence ing contemporary remembrance could be evidenced in a wide vari- of the massacres that took place Editor-in-Chief ety of contemporary media arte- in Zanzibar in 1964 during the Daniel Lindvall, Skebokvarnsvägen 147, facts. Films such as Ron Fricke’s shooting of the film (Fouéré 2016). lgh 1201, 124 52 Bandhagen, Sweden Baraka (1992), TV shows such as These fascinating essays bring a [email protected] Striscia la notizia (1988–present) sober socio-political viewpoint to Co-Editor: Reviews, Book Reviews, an Italian parody of the news, the mondo film that is most wel- Interviews, Festival Reports Matthew Sorrento, Department of English/ print media such as the Benet- come. As mondo films have been Film and Media Studies, Rutgers ton group’s Colors magazine and continuously critiqued for being University-Camden, Camden, NJ 08102, US Bizarre, a sleazy cousin to National profoundly macho and deeply [email protected] Geographic, all held within them chauvinistic it is also very impor- Image Editor Travis Merchant the basic principle of the mondo tant to bring a wide variety of [email protected] aesthetic: to confuse reality with diverse perspectives to the debate. Contributing Editors fabrication (and to also confuse It is understandable that most Jacob Mertens both reality and fabrication). of the discussion on mondo cin- [email protected] I also explained that my study ema has centred around the Liza Palmer [email protected] of the mondo film would focus on ‘carnilvalesque’ nature of the films. Doug Bentin’s chapter on Per Linnertz three points: [email protected] mondo in Docufictions (Bentin Christopher Sharrett 1. That mondo films are a pow- 2006) does an excellent job of sit- [email protected] erful and important aspect uating the films in the medium Tony Williams of film history. of spectacle. Jacopetti, Prosperi [email protected] 2. That much of today’s media and others have invented a twen- Layout Design output owes a debt to the tieth-century cinematic version John Teehan [email protected] aesthetics and politics of the of the staged fictions of the past, Cover Design mondo film. the mondo director’s predilection Alex Szumlas 3. That mondo films belong to for ‘sensational shock scenes’ (to [email protected] the ‘high’ genres of docu- quote the blurb from one mondo Copy Editor mentary and the practices poster), clearly being a modern, Emma Rhys and MPS Technologies of the avant-garde as much electronic version of the age-old Production Manager as to exploitation, trash and craving for illicit liaisons with Naomi Curston shock cinema. taboo subjects. Printed by CPI Antony Rowe It is, however, gratifying to Published by While Sweet and Savage addressed report that over a decade on from intellect www.intellectbooks.com these aspects in some depth, the Sweet and Savage new perspec- Cover image number of serious texts on mondo tives on the mondo film – through Naked Amazon (1955) cinema has remained modest a wide range of scholarly view- 4 | film international issue 88 Editorial Below Goodbye Uncle Tom (1971) points – are finally emerging. This and so it is right that neglected the director with that of the film is helping to lift the mondo film more extreme films from the material (Missero). from the ‘path-dependency’ of later period of mondo cinema The exotic dimension to mondo exploitation readings to its right- are elucidated (Gayraud and films, arguably one of their most ful place in the history of docu- Lachaud). Another contribution affective in terms of marketing mentary film practices. It is the argues the case for the Ameri- practices, is re-examined from a intention that the selection of can documentarian Arthur Davis refreshing non-western perspec- essays in this special issue of Film to be reviewed as more than just tive via a study of the impact that International further illuminates a cinematic charlatan (generally mondo aesthetics had on Brazil- these trends. how he was represented in Sweet ian New Wave documentary cin- The texts included here there- and Savage) and his filmBrutes ema (Cánepa and Caraça). As fore generally move away from and Savages (1977) to be looked Sexton argues in his contribution, the tradition of analysing the at with fresh eyes. The sexuality such exoticism also stretched to mondo film as simply another of mondo is tracked, but through the occult through witchcraft and genre to which sex and violence the lens of 1960s America (Wie- other cult practices (western and are attached to sell theatre tick- gand) and the various sex scan- non-western), a place where the ets. The essays proceed (more or dals that rocked Italy in the late reactionary mondo film clashed less) chronologically beginning 1950s and the early 1960s (and with late 1960s revolutionary coun- with situating the mondo film that are represented in perhaps terculture – a match made in some within the post-war culture of the most famous and influential form of hell. Inexplicable though Italy and Italian ‘quality’ cinema film of that era Federico Fellini’s it may seem, the mondo film has (Previtali) and ending with an La Dolce vita [1960]). The confla- also influenced recent ‘found foot- examination of how the mondo tion of the media image of the age’ horror filmmaking (Brannan). film has surprisingly influenced, film celebrity with the aggressive The modern media world is for good or bad, contemporary nature of the mondo film director arguably still a mondo cane. Atrocity Italian film practices (Tuan). (and his similarly sensationalist videos are now uploaded onto the Jacopetti and Prosperi are the ‘world-view’) offers an illuminat- Internet and circulated via social ‘superstars’ of mondo cinema ing way of linking the persona of media; TV schedules are packed www.filmint.nu | 5 Editorial with people doing repulsive things in far-off locations (or nearby fake References locations). There is a general scep- ticism about news media and the whole dubious concept of ‘fake Bentin, D. (2006), ‘Mondo Barnum’, news’ is sustained by reference to in G. D. Rhodes and J. P. Springer manipulations of the past. There- (eds), Docufictions, Jefferson: fore, as this collection of articles McFarland & Company, pp. 144–53. reflects, an antiquated now almost quaint set of documentary films Fouéré, M.-A. (2016) ‘Film as continues to shape the postmod- Archive: Africa addio and the ern world, J. G. Ballard’s ‘exhibition Ambiguities of Remembrance in of atrocities’ paraded across the Contemporary Zanzibar’, virtual and digital landscapes of Anthropologie Sociale (Social the twenty-first century. Anthropology), 24:1, pp. 82–96. Giuliani, G. (2018), ‘Razza Cagna: Contributor's details Mondo Movies, the White Heterosexual Male Gaze, and the 1960s–1970s Imaginary of the Mark Goodall is a lecturer in film at Nation’, Modern Italy, 23:4, pp. the University of Bradford. His 429–44. research interests include cult, horror and experimental cinema, Kerekes, D. and Slater, D. (1994), popular music and the avant- Killing for Culture: An Illustrated garde, and the mondo films of the History of Death Film from Mondo to 1960s and the 1970s. His Snuff, London: Creation Books. publications include Sweet and Savage: The World Through the Shockumentary Film Lens (Headpress, Note [2006] 2017), Crash Cinema: Representation in Film (Cambridge Scholars, 2007), Gathering of the 1. A second revised edition of the Tribe: Music and Heavy Conscious book was published in 2017 by Creation (Headpress, 2013) and The Headpress. Beatles, or ‘The White Album’ (Headpress, 2018). He is the producer and director of the feature film Holy Terrors (2017) and plays in the indie chamber folk band Rudolf Rocker. 6 | film international issue 88 Black and White Bioscope Making Movies in Africa 1899 to 1925 By Neil Parsons Black and White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated the francophone African films and Nollywood that are the focus of most histories of this industry. At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States and Australia, ISBN 978-1-78320-943-9 272 pp | £55, $80 as well as from Africa. These included not only the original ‘long trek Hardback | Fall 2018 movie’ and the prototype for the movies Zulu and Zulu Dawn but also the 274 x 240 mm first King Solomon’s Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu and Msoga Mwana, who starred as the black revolutionary in Prester John.
Load more

Recommended publications
  • 978–0–230–30016–3 Copyrighted Material – 978–0–230–30016–3
    Copyrighted material – 978–0–230–30016–3 Introduction, selection and editorial matter © Louis Bayman and Sergio Rigoletto 2013 Individual chapters © Contributors 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–30016–3 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Africa Addio and the Ambiguities of Remembrance in Contemporary Zanzibar Marie-Aude Fouéré
    Film as archive: Africa Addio and the ambiguities of remembrance in contemporary Zanzibar Marie-Aude Fouéré To cite this version: Marie-Aude Fouéré. Film as archive: Africa Addio and the ambiguities of remembrance in con- temporary Zanzibar. Social Anthropology, Wiley, 2016, 24 (1), 10.1111/1469-8676.12282. halshs- 01404568 HAL Id: halshs-01404568 https://halshs.archives-ouvertes.fr/halshs-01404568 Submitted on 3 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MARIE-AUDE FOUÉRÉ Film as archive: Africa Addio and the ambiguities of remembrance in contemporary Zanzibar The Italian shock documentary Africa Addio contains a sequence about massacres that occurred during the Zanzibar revolution of 1964. Perceived by some of its Zanzibari viewers as a container of factual evidence of the brutality of this epochal event, this sequence is contested by others who assert that it was staged or re-enacted. One critical aspect of these oppositional views concerns the very status of this documentary and the trust that can be placed in it as an archival record. Whether Africa Addio is seen as authentic or fabricated, it provides Zanzibaris with a medium through which to revisit the past and rethink Zanzibari society in the present.
    [Show full text]
  • Bodies of Desire and Bodies in Distress
    Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................
    [Show full text]
  • 'Emanuelle' Films
    Issue 9 May 2017 www.intensitiescultmedia.com Mondo Realism, the Sensual Body, and Genre Hybridity in Joe D’Amato’s ‘Emanuelle’ Films Mario DeGiglio-Bellemare John Abbott College Abstract This paper examines the place of Joe D’Amato’s series of Emanuelle films within the context of Italian cine- ma, exploitation cinema, and genre studies—especially the pornography and horror genres. I will focus on what I have labelled D’Amato’s Mondo Realist films that were made in a very short period between 1975-1978. I argue that D’Amato’s films offer an expansive sense of genre hybridity, especially as his films from this brief period are rooted in the Sadean tradition, the cinema of attractions, the Mondo film, neorealism, and the horror genre. I also examine D’Amato’s films in the terms set out by Linda Williams (2004a); namely, as an auteur of ‘body genres’ whose films must be considered in terms that move us beyond dominant scopocentric tendencies in film theory. D’Amato’s films offer a way to open up these categories through the sensual and corporeal experience of his hybrid films. Introduction The opening credit sequence is constructed through is not new to the landscape of Italian cinema: it is the a series of shots that showcase the sights of New main theme of Mondo Cane (Dirs. Paolo Cavara, Gual- York City from the air. The film opens with the name tiero Jacopetti, Franco E. Prosperi, 1962), the film that of Laura Gemser superimposed on the imposing set in motion another important Italian subgenre skyline of the Twin Towers.
    [Show full text]
  • Book Review with TTU Libraries Cover Page
    BOOK REVIEW: SWEET AND SAVAGE: THE WORLD THROUGH THE SHOCKUMENTARY FILM LENS The Texas Tech community has made this publication openly available. Please share how this access benefits you. Your story matters to us. Citation Weiner, R.G. (2007). [Review of the book Sweet and Savage: The World Through the Shockumentary Film Lens, by Goodall, Mark]. Journal of Popular Culture, 40(6), 1101-1102. https://doi.org/10.1111/j.1540-5931.2007.00486_17.x Citable Link http://hdl.handle.net/2346/1532 Terms of Use CC-BY Title page template design credit to Harvard DASH. Book Reviews 1101 nationality inherent in the activity. More specifically, those who have scholarly interest in ballroom dance and in dance film studies will find the book engaging and informative. I can imagine using this text in a course dealing with gender or sexuality construction in a number of subject areas (film, dance, theater, sports) in American popular culture. Gregory J. Thompson Rogers State University Savage and Sweet: The World Through the Shockumentary Film Lens. Mark Goodall. London: Headpress, 2006. Perhaps no film genre is more maligned by critics and scholars than the Mondo film or the Shockumentary. The Mondo film phenomenon began in 1962 with Mondo Cane which was directed by Italian film- makers Gualtiero Jacopetti and Franco Prosperi. Today, forty-five years later, through reality shows, contests, and films, the basic premise of the Mondo film permeates every part of our popular culture. Blue Underground Films’ recent DVD release of the Mondo Cane Collection, dubbed the ‘‘most controversial box set of all time,’’ sold out and now goes for collector’s prices.
    [Show full text]
  • Downloadable
    Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including the display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: ____________________________ ______________ Matthew Boyd Smith Date Bits and Pieces: Brutality in Millennial Horror Films and French Art Cinema By Matthew Boyd Smith Master of Arts Film and Media Studies ___________________________ Matthew Bernstein, Ph.D. Advisor ____________________________ Michele Schreiber, Ph.D. Committee Member ___________________________ Karla Oeler, Ph.D. Committee Member Accepted: ___________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________ Date Bits and Pieces: Brutality in Millennial Horror Films and French Art Cinema By Matthew Boyd Smith B.A., University of South Carolina, 2007 Advisor: Matthew Bernstein, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film and Media Studies 2013 Abstract Bits and Pieces: Brutality in Millennial Horror Films and French Art Cinema By Matthew Boyd Smith This thesis examines a new strain of brutality in American and French horror films in the 2000s.
    [Show full text]
  • Eighteenth Biennial Conference of Power 16-18 July 2019
    Eighteenth Biennial Conference of Power 16-18 July 2019 Draft Conference Programme Please note that all timings are subject to change. A final programme will be published in June 2019. With the exception of the evening reception and film screening, all events will take place in Sandyford Building, City Campus, Northumbria University, Tuesday 16 July 9.00-12.00 pm IAMHIST Council Meeting (Council members only) 12pm onwards Registration 14.00 – 15.00 pm Keynote Session James Curran (Goldsmiths, University of London): Press, Politics and Power in Britain 15.15 – 17.00 pm Parallel Sessions Education and Reform Steven Barclay (Westminster): Public service broadcasting and power over the school curriculum Lottie Hoare (Cambridge): Chief Education officers lobbying to be heard on BBC Radio 1944-1965 Audrey Hostettler (University of Lausanne): Educational film and progressive education in interwar Switzerland: Between European ideals and national interests The Archive and Historiography 1 Dan Chyutin (Pittsburgh): ‘Too much of a Western’: Blazing Sand (1960) and the benefits of an Israeli film scholarship without films Dominique Santana (Luxembourg) and Alessandra Luciano (Centre national de l'audiovisuel): Ties that bind: Unearthing shared treasures between Luxembourg and Brazil Eddie Bohan (Independent Scholar): Pirate radio archive protection Heritage and Material Culture Deborah Chambers (Newcastle): The politics of displaying the analogue television set: From symbol of modernity to media heritage artefact? Mel Gibson and Sarah Ralph (Northumbria
    [Show full text]
  • The University of Bradford Institutional Repository
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bradford Scholars The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall M (2016) Spaghetti savages: cinematic perversions of 'Django Kill'. In: Broughton L (Ed.) Critical perspectives on the Western: from A Fistful of Dollars to Django Unchained. Maryland: Rowman & Littlefield. 199-212. Copyright statement: © 2016. Rowman & Littlefield. All rights reserved. Reproduced in accordance with the publisher's self-archiving policy. ‘Spaghetti Savages’: the cinematic perversions of Django Kill Mark Goodall Introduction: the ‘Savage Western’ …The world of the Italian western is that of an insecure environment of grotesqueness, abounding in almost surrealistic dimensions, in which violence reigns1 The truth in stories always generates fear2 It is widely accepted that the ‘Spaghetti Western’, one of the most vivid genres in cinematic history, began with Sergio Leone’s 1964 film Per un pugno di dollari/A Fistful of Dollars. Although A Fistful of Dollars was not the first Italian Western per se, it was the first to present a set of individual and distinctive traits for which Latino versions of the myths of the West would subsequently become known. In short, Leone’s much imitated film served to introduce a sense of ‘separate generic identity’3 to the Italian Western The blank, amoral character of ‘The Man With No Name’, played by the American television actor Clint Eastwood, was something of a surprise initially but his cool manner under extreme provocation from all sides was an engaging and powerful attribute.
    [Show full text]
  • 2009 Joint Conference of the National Popular Culture and American Culture Associations
    2009 Joint Conference of the National Popular Culture and American Culture Associations April 8 – 11, 2009 New Orleans Marriott Delores F. Rauscher, Editor & PCA/ACA Conference Coordinator Michigan State University Wiley-Blackwell Editor: Elna Lim Additional information about the PCA/ACA available at www.pcaaca.org 2 Table of Contents The 2008 National Conference Popular Culture Association & American Culture Association Area Chairs ..................................5 PCA/ACA Board Members.........................................................13 Officers........................................................................................13 Executive Officers.......................................................................13 Past & Future Conferences..........................................................14 Conference Papers For Sale; Benefits Endowment.....................15 Exhibit Hours ..............................................................................15 Business & Board Meetings........................................................16 Film Screenings...........................................................................18 Tours, Get-Togethers, Receptions, & Dinners............................22 Special Sessions ..........................................................................24 SCHEDULE OVERVIEW:............................................................32 DAILY SCHEDULE: ....................................................................52 Wednesday, 12:30 P.M. – 2:00 P.M. .........................................52
    [Show full text]
  • Vermeer and Lucio Fulci's SETTE NOTE
    Refractory » Subversive Frames: Vermeer And Lucio Fulci’s SETTE ... http://refractory.unimelb.edu.au/2010/07/18/subversive-frames-vermeer... a Journal of Entertainment Media (ISSN:1447-4905) Home » Latest Volume About Editorial Board Submissions State of Play Contact Subversive Frames: Vermeer And Lucio Fulci’s SETTE NOTE IN NERO – Alexandra Heller-Nicholas Published Jul 18th 2010 When paintings appear in the films of celebrated auteurs such as Peter Greenaway or Rainer Werner Fassbinder, critical debate tends to ask how, rather than if, the inclusion of these works impacts the broader meaning of the film as a whole. But despite the prevalence of painting in horror—from the clichéd moving-eyes-behind-the -portrait as typified in Hammer Horror’s Theatre of Death (Samuel Gallu, 1967), to Bernard Rose’s graffiti-laden Candyman (1992)—the same questions are not so readily addressed. Perhaps this is due to orthodox considerations of the horror film as a supposedly lowbrow cultural form, rendering art historical analysis a relatively impotent critical pursuit. Alternatively, maybe the hyperactive theatricality of this emphatically visceral body genre invites more well-trod approaches to critically privileged aspects: the repressed that keeps returning, the final girls and the phallic weaponry have all had more than a brief moment in the analytical spotlight. But the appearance of paintings in horror films—particularly recognisable and famous works—encourages readings outside of more popular critical approaches such as psychoanalysis. This article investigates the utility of Dutch Master Johannes Vermeer’s painting The Love Letter (1669-70) in cult Italian director Lucio Fulci’s giallo Sette note in nero (The Psychic, 1977), uncovering a complex relationship that is pivotal to the film thematically and stylistically.
    [Show full text]
  • Pornographie, Philosophie Und Die Brutalisierung Der Sexualität (Westdeutschland 1968-1988) Pascal Eitler
    I I I Wir empfehlen Ihnen, auf einem Blatt jeweils zwei Seiten dieses Artikels nebeneinander auszudrucken. We recommend that you print two pages of this article side by side on one sheet. Body Politics 1 (2013), Heft 2, S. 259-296 Das „Reich der Sinne“? Pornographie, Philosophie und die Brutalisierung der Sexualität (Westdeutschland 1968-1988) Pascal Eitler English abstract: This article addresses a new kind of entanglement between visualized sexuality and sexualized violence within hard-core and especially soft-core pornography in the 1970s and 1980s. It reconstructs and contextualizes how sharply increasing vio- lence against women within the pornography of this timeframe constituted a brutaliza- tion of sexuality. The article thereby analyzes what sort of concrete knowledge about violence practices, the imagined female body, and the propagated female self was of- fered by pornography around and after 1968. Against this background, it also tries to historicize and to better understand the feminist Anti-Pornography-Movement of the 1970s and 1980s, focusing on the harmed feelings of women who not only observed vio- lence within pornography but experienced it themselves while observing it. „Ich lebte in einer Welt der Bilder: kauernde, ausgebreitete, aufgehängte, gefesselte und zerschnittene Frauen [...] Gruppenvergewaltigung, Paar- vergewaltigung, Vergewaltigung von Frauen durch Männer, Vergewalti- gung von Frauen durch Tiere, Herausreißen von Eingeweiden, Folter, Penetration, Exkremente [...] Mir wurde übel [...] Ich war zittrig und tod- krank [...] Ich wurde furchtsam und leicht irritierbar [...] die Alpträume waren das geringste.“1 Als Andrea Dworkin dies schrieb, las und be- trachtete sie – Pornographie. In drastischen, teilweise dramatischen Worten beschrieb und verurteilte sie nicht nur die in diesem Medium bzw.
    [Show full text]